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Antonio Juan-Marcos
Arder Aprender
Pour contre-ténor, ensemble de 20 musiciens et
dispositif électro-acoustique
D’après le poème « Coda » d’Octavio Paz
Partition en Ut
2012
Effectif
1 Soliste : Contre-ténor
Bois:
1-flûte jouant le piccolo
1-hautbois
1-clarinette jouant la clarinette basse
1-basson
Cuivres :
2 Cors en Fa
1 Trompette en Ut jouant la trompette en Ré
1 Trombone
2 Percussionnistes
1 Harpe
1 Cymbalum
1 Piano jouant le célesta
Cordes :
1 Violon I
1 Violon II
2 Altos
2 Violoncelles
1 Contrebasse
Antonio JUAN-MARCOS
ARDER APRENDER
Percussionniste 1 : sur la droite, au fond de la scène
Instrumentation
Crotales (archet) (Sonne deux octaves plus haut)
2Bongos
2Congas
4Log drum
3 Wood blocks
Tam-tam (archet)
Cymbale suspendue (wire brushes)
Cymbale Hit-Hat
Cymbale cloutée
Bâton de pluie_grandes dimensions
Vibraphone (archet, aiguilles)
Caisse claire (wire brushes)
Petit tam-tam
Maracas
Crotales utilisés:
Sauf indication dans la partition, les types de baguettes sont à décider par le percussionniste.
Les types de baguette deja precisées dans la partition sont:
- 2 Wire Brushes
- Aiguilles
- Archet
Antonio JUAN-MARCOS
ARDER APRENDER
Percussion II : à gauche au fond de la scène
Instrumentation:
Marimba (baguettes mi-dures et douces)
Grosse caisse
3 wood blocks
Petit tam-tam
Caxixi
Sleigh bells
Vibraphone (archet)
Cloches tubulaires (aiguilles)
5 Temple Blocks
Claves
Steel drums
2Bongos
2Congas
Bâton de pluie__grandes dimensions
Cloches utilisées:
Steel Drums, hauteurs utilisées:
Sauf indication dans la partition, les types de baguettes sont à décider par le percussionniste.
Les types de baguette deja precisées dans la partition sont:
- Baguettes de Marimba, tête mi-dure
- Baguettes de Marimba, tête douce
- Aiguilles
- Archet
Notes pour l!exécution
Contre-ténor
1-Le contre-ténor appuie le pied sur une pédale midi pour démarrer les sons électroacoustiques.
2-Le contre-ténor joue de temps en temps des claves.
3-
Les notes indiquées avec une croix sont parlées avec une hauteur précise.
4-
Le signe "poussé" signifie : « émettre le son en inspirant ».
5-
Le signe "tiré" signifie : « émettre le son en exhalant ».
6-En l'absence de ces signes, le contre-ténor chante sur le mode ordinaire..
Flûte, hautbois, clarinette, basson
1-
Utiliser 2 doigtés différents au choix pour la même note, en respectant l’alternance indiquée par les signes.
2-
Bruits de clé sur la partie la plus sonore de l’instrument
3-
Note harmonique
4-
Pour les vents, trémolo dental (Flatterzunge)
Cor I, Cor II, Trompette, Trombone
1-
En expirant à l’intérieur du pavillon de l’instrument de cuivre, produire une sonorité de roulement équivalente à un « r » soutenu.
2-
Parler en chuchotant de façon soutenue à l’intérieur de l’instrument, afin d’obtenir la sonorité de la lettre écrite au-dessus de la note. S’il
y a deux lignes dans la portée, cela signifie que le registre total de la voix parlée est divisé en 2. La ligne du bas correspond alors au
registre le plus grave, celle du haut au registre plus aigu.
3-
Expirer en soufflant à l’intérieur de l’instrument.
4-
Pour les vents, trémolo dental (Flatterzunge)
5-
Chanter avec la consonne « m » et jouer simultanément la même note selon la durée indiquée.
Sourdines utilisées : Sourd. Harmon ; Sourd. Straight; Sourd. Plunger ; Sourd. Cup
Cordes
1-
ST = Sul tasto
SP = Sul pont.
AST = Alto sul tasto
ASP = Alto sul pont.
2-
Déplacer l’archet sur la clé d’accord correspondant à la corde indiquée, afin d’obtenir une sonorité dans le registre aigu. Le son résultant
du déplacement de l’archet sur la clé d’accord est similaire à un son harmonique indéterminé coloré de façon « boisée »
3-
Finger tapping
Percuter vigoureusement la touche avec le(s) doigt(s) de la main gauche à l’endroit de la hauteur souhaitée de façon à émettre le son par
le seul effet de la percussion.
4-
Déplacement longitudinal de l’archet selon la durée indiquée.
5-
Pour les cordes, trémolo le plus rapide possible.
Sourdines utilisées : Sourdine normale et sourdine de plomb.
Indications générales
Quarts de tons
Quart de ton supérieur
Trois quarts de ton supérieur
Quart de ton inférieur
Trois quarts de ton inférieur
Antonio JUAN-MARCOS
ARDER APRENDER
Disposition GH�OHQVHPEOH !
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Antonio JUAN-MARCOS
ARDER APRENDER
Disposition Percussion I
Percussion I: à droite
Petit Tam-tam
Vibraphone
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Antonio JUAN-MARCOS
ARDER APRENDER
Disposition Percussion II
Percussion II: à gauche
Petit Tam-tam
Marimba
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Support informatique :
1- Ordinateur Macintosh récent de préférence.
2- Carte son firewire, minimum 4 sorties.
3- Un patch MAX msp 5 pour Macintosh, pour déclencher plusieurs fichier-
sons sur quatre haut-parleurs simultanément.
4- Une installation de Max 5 est préférable, mais une
version standalone du patch Max peut être fournie.
5- Une pédale de sustain branchée, par exemple, dans un clavier midi
connecté au Mac.
Coda
Octavio Paz
Tal vez amar es aprender
a caminar por este mundo.
Aprender a quedarnos quietos
como el tilo y la encina de la fábula.
Aprender a mirar.
Tu mirada es sembradora.
Plantó un árbol.
Yo hablo
porque tú meces los follajes.
!
"
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Piccolo
Hautbois
Clarinette en Sib
Basson
Cor en Fa I
Cor en Fa II
Trompette en Do
Trombone
Crotales
Cloches-Tubes
Marimba
Harpe
Cymbalum
Piano
Électronique
Contre-tenor
Violon I
Violon II
Alto I
Alto II
Violoncelle I
Violoncelle II
Contrebasse
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#$
Antonio Juan-Marcos
pp
Arder Aprender
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Alt. I
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Vc. I
Vc. II
Cb.
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Hpe.
Cym.
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Ct.
Vln. I
Vln. II
Alt. I
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Vc. I
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55
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Vln. I
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60 65
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Vln. I
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Vc. II
Cb.
70 75
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déplacer l'index humide sur la peau de fason circulaire
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Bsn.
Cor. I
Cor. II
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Cl.Tubes
Hpe.
Cym.
Pno.
Électr.
Ct.
Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
pp
80
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f p f p p mf p mf p
q=60 105
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ff p p mf p mf p
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f p f p p mf p mf p f
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Hpe.
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Vln. I
Vln. II
Alt. I
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p 6ppp 6
155 160
f pp 6 p ppp
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Cor. I
Cor. II
Tptte.
Trb.
Bong.
Mar.
Cel.
Électr.
Ct.
Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
mp pp pp mp
165
pp mp pp
p Conga
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p mp mf pp
p pp mf pp mf pp
p pp mf pp
p pp mf pp
mp 6 mp mp 6
p pp mf pp
pp mf pp
p mp pp mp p
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
Tptte.
Trb.
Bong.
Mar.
Cel.
Électr.
Ct.
Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
mf pp mp pp
170
pp mp pp pp mp
p
pp mp p f
mp ppp mp ppp
pp mf p mf pp
pp mfmp
pp mf ppp 6
pp mf pp mf pp
mp mfpp mp pp
mp mfp 6
mf6 mp f p 6 mp
pp
6
p mf
6 mf
pp mppp mf pp
pp 6
mp mf 6 pp mp p mp
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pp p
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Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
mf ppp 6
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Perc. I
Conga
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Perc. II
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
Trp.
Trb.
Cym.
Vib.
Perc.
Mar.
G. C.
Hpe.
Cym.
Pno.
Électr.
Ct.
Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
p
220 225
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2 2 2 25
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#
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2 2 2 2 23 5
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
C Tpt.
Tbn.
Mar.
Hpe.
Cym.
Pno.
Électr.
Ct.
Vln I
Vln II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
ppp p ppp 6
230
p
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
C Tpt.
Tbn.
Perc. I
Perc. II
Hpe.
Pno.
Électr.
Ct.
Vln I
Vln II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
pp
265
pp 6
pp
pp 6
o
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39
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
Trpt. C.
Tbn.
Perc. I
Perc. II
Hpe.
Cym.
Pno.
Électr.
Ct.
Vln I
Vln II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
6
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40
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Fl.
Htb.
Cl.
Bsn.
Cor. I
Cor. II
Trpt. C.
Tbn.
Perc. I
Perc. II
Hrp.
Cym.
Pno.
Electr..
Ct.
Vln. I
Vln. II
Alt. I
Alt. II
Vc. I
Vc. II
Cb.
mp 6
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mp 6
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41
